The stories behind the buildings, statues and other points of interest that make Manhattan fascinating.

Monday, January 25, 2016

The Lost Sheridan Theatre -- 7th Avenue and West 12th Street

A policeman stands on the streetcar tracks in front of the Sheridan Theatre in 1922, while a blurred traffic agent pauses by his manual Stop and Go traffic sign. Architecture and Building, December 1922

In 1920 motion picture theaters had evolved from converted
halls and old stage theaters to lavish “palaces.”Max Spiegel had been in the liquor business
before Prohibition forced him to find another profession.He became manager of a burlesque show and, when
that proved successful, he erected the Strand Theater on Broadway at 47th
Street.

Before long he was building or acquiring burlesque or
vaudeville theaters throughout New York and New Jersey.When he purchased the Fitzgerald Building, at
43rd Street and Broadway, he gained a legitimate theater already in
the building—the George M. Cohan.

In 1914, Seventh Avenue had been extended south through Greenwich
Village.The new thoroughfare cut
through existing, diagonally-positioned blocks resulting in some odd
triangular lots.One of these was
bounded by Seventh Avenue, Greenwich Avenue and West 12th Street.Now, in 1920, Max Spiegel laid plans for
another, lavish theater for that plot.

In April Spiegel’s architects, Reilly & Hall, filed
plans for a two story “brick, limestone and terra cotta theatre.”The plans called for an auditorium capable of
seating 2,500, and the building was projected to cost $400,000.Max Spiegel told reporters that there were
two important points to note about his Sheridan Theatre—“it is to be a
motion-picture theatre and that it is being built without opposition from
residents in the vicinity.”His would be
the first motion picture theater built south of 42nd Street.

As the structure neared completion on August 7, 1921, The
New York Times remarked “Months were spent in investigating other theatres that
the accumulative study might result in the latest and finest temple for the
silent drama.”

Reilly & Hall’s elephantine design for the exterior gave
no hint of the lavish interior.The red
brick mass, supported by a rusticated base, was relieved by stone bands.Pilasters and a balustrade along the
projecting entrance allowed the architects to tag the building “Colonial.”

The interior, however, was palatial.The
Times reported “There is a sixty-foot dome over the auditorium which
perfectly reflects the idea and style of the Italian Renaissance carried out in
Georgian green, ivory and gold.“Two
staircases of white Alabama marble led to the mezzanine.The auditorium was lavishly-ornamented in
what Architecture and Building called “a strong Italian Renaissance feeling and
coloring.”

The 60-foot wide dome mentioned by The Times was further detailed byArchitecture and Building, which said it “is
exceptionally well carried out and owes its origin to the dome in the palace
Mattei di Giove in Italy.From its
center was suspended a crystal chandelier which could change colors as the
auditorium lighting changed.

The Sienna marble on the mezzanine level, where the men's and ladies' restrooms were located, was in reality, painted plaster. Architecture and Building, December 1922

Spiegel spared no expense on outfitting the Sheridan
Theatre, right down to the restrooms and lounges.“The
main lounge is below the auditorium and is treated as an Italian living room
with tapestries and antique Italian furniture,” reported Architecture and
Building.“Two Carrara marble drinking
fountains recessed in the walls of the foyer with illuminated glass domes are
simple and well executed.”

Architecture and Building, December 1922

By the time the theater opened on September 19, 1921
construction costs had risen to $700,000—more than $9.25 million today.The elaborate stage equipment cost an
additional $40,000 and the impressive organ—a must-have in silent movie
theaters—another $9,400.Of the 2,700
seats, 1,200 were in the balcony.The New
York Clipper noted “the front rows are forty feet from the screen, doing away
with objectionable close-up views.”Another
notable innovation was reserved seating.

Silent movies required musical accompaniment.Along with the Austin pipe organ was a small
orchestra, under Musical Director Walter J. Davidson.As a matter of fact, when the theater opened the
musical entertainment was nearly as important as the film.

The New York Times reported on the opening night of the “newest and
most pretentious motion picture house,” saying “The opening program follows the
fashion of the Broadway houses, combining motion pictures and music.First comes the ‘Poet and Peasant’ overture
played by the orchestra, and then George Dale, tenor; Dorothy Bell, soprano, a
quartette and the Serova Dancers in songs and dances.”

Finally the two films—a short and a feature—were screened.“The first picture number is entitled ‘Sheridan
Greetings’ and includes an interesting bit entitled ‘Here and There in
Greenwich Village,’ photographed by Wilbur Finley Fauley.The featured photoplay is ‘Disraeli,’ with
George Arliss in the title role.”

Sadly for Max Spiegel, his aggressive business expansion
coupled with a staggeringly-expensive Sheridan Theatre ended badly.Although his theaters were doing well, he had
overspent.The stress of his financial
condition caused a nervous breakdown just over a year after the Sheridan
opened.

On December 20, 1922 the New York Clipper advised “Involved
in financial difficulties to the extent of $1,000,000, Max Spiegel theatre owner
and operator, is confined to a sanitarium in Stamford, Conn., where he was
committed last week…on the application of his brother, Leon Spiegel.”

Spiegel had stopped at a Hartford hotel when he broke
down.“His condition was very serious,
and he was carried out of the hotel to a train which bore him to New York on a
stretcher.”

The Sheridan Theatre continued under its manager, Morton B.
Blumenstock, who expanded the repertoire with live entertainment.In June the following year he announced that “Starting
early in September the Sheridan Theater in Greenwich Village, will show a
series of one-act plays, with a cast of singing artists, in conjunction with
the usual run of pictures.The New York
Clipper reported “The plays will be presented with full scenic equipment and
under the direction of Edwin T. Emery. Plays from the old English and French
authors will be presented.”

A bit of excitement was caused in the balcony on the night
of January 9, 1924 when off-duty policeman George B. Dumont intended to take in a
film.As he removed his overcoat, his
service revolver fell to the floor and discharged, firing a bullet into Dumont’s
heel.The New York Times reported “The
policeman was taken to St. Vincent’s Hospital.”

In 1926 the theater was taken over by the Loew’s chain,
which renamed it the Loew’s Sheridan.The following year the first full-length motion picture with synchronized dialogue sequences was screened here—Warner
Brothers’ “supreme triumph,” The Jazz
Singer starring Al Jolson.

The theater was the scene of much fanfare on January 4, 1930
when a bronze plaque was affixed to the façade, commemorating the site of the
house where George Clemenceau lived for six months in 1870.The former Prime Minister of France led his
country through the First World War and French citizens and French-Americans
would gather at the spot for years, laying flowers and holding small ceremonies
on Clemenceau’s birthday.

The Sherdan Theatre played a major part in the sensational 1932
Lindbergh baby kidnapping and murder case.Cashier Cecelia M. Barr was first hired by the Loew’s chain in 1916 and
was transferred to the Sheridan when Loew's it took over.At 9:30 on the night of Sunday, November 26,
1933 Richard Hauptmann stepped up to her window and threw a folded $5 bill at
her.The film that night was Broadway Through a Keyhole, a gangster
movie written by Walter Winchell.

Cecelia Barr later recounted “He took the bill out of his
watch pocket and threw it at me.That
naturally made me look up—the way he did it.”Other factors made her take notice of Hauptmann.He was late for the screening—she was even
counting her receipts, not expecting anymore patrons—and although it was a cold
night, he wore no overcoat.The third
reason, other than the tossing of the bill, was the way it was folded.“The bill was folded in eight parts as if it
had been taken from a watch pocket.I
had to unfold it myself,” she later testified.

The collection of circumstances led Cecelia Barr to distinctly
remember the man among the 1,500 patrons that night, and to describe him to Federal
authorities.The oddly-folded bill was
one of those marked by the FBI and provided as ransom in the Lindbergh case.

Five years later The New York Times reported that Cecelia
had earned $1,000 of the $27,000 reward money for Hauptmann’s conviction.New Jersey Governor Harold G. Hoffman
described Cecelia Barr as the “quite remarkable cashier.”

photo from the collection of the New-York Historical Society

Throughout the 1950s the Loew’s Sheridan Theatre was the
scene of “Christmas Motion-Picture Parties” for underprivileged children.Over 5,000 children were entertained here
annually.

With dwindling audiences as television began keeping motion
picture audiences home in the 1950s, the Sheridan managers got creative.On June, 15, 1957 the first of the “Music for
Night People” jazz concerts was initiated.That first performance was a memorable one—with Billie Holiday the
headliner.

Two days later The Times reported “Jazz concerts
successfully invaded new territory at midnight Saturday when 2,500 people
packed Loew’s Sheridan Theatre in Greenwich Village to hear a program headed by
Billie Holliday and the Modern Jazz Quartet.”

The newspaper gave the chanteuse a mixed review.“Miss Holiday, making one of her rare New
York appearances, was not always in full control of her voice.But once she had worked away a tendency toward
thickness and lumpiness, she sang with a quiet passion that was deeply moving.She reached her peak on three of her
established favorites, ‘God Bless the Child,’ ‘Don’t Explain’ and particularly
on ‘Billie’s Blues,’ a song that was delivered with raucous gaiety in her early
days but now has evolved into a dark-shadowed, brooding plaint.”

For the next few years the Loew’s Sheridan Theatre would
present some of the most recognized artists in the jazz field—Dave Brubeck
Quartet, and Jean Sheperd, for instance; and the premier of Alonzo Levister’s
jazz opera Blues in the Subway on September
28, 1958.

It was not enough to make up for the faltering ticket sales,
however.In the early 1960s the balcony
was closed, the first hint of trouble.Finally, in 1969, the last film was screened and the doors were closed
for good.St. Vincent’s Hospital, directly
across the avenue, purchased the property.Announcing the intention to construct a nurses’ residence, it demolished
the movie palace.

photograph by the author

The hospital changed its mind and the triangular plot
remained vacant until being planted as a neighborhood garden.Later a boxy brown facilities structure was erected
in part of the plot, and most recently a public park was installed along the Seventh Avenue side.For most, the
memory of the lavish silent movie palace that contributed to the ruin of a
theater mogul and the capture of one of the nation’s most notorious murderers has
faded away.

For the record, "The Jazz Singer" was not the first full-length talkie. Only the musical scenes had sound. The rest of the movie, dialogue cards were used. It did have synchronized sound for those scenes but it was primarily a silent film.